Human design is a necessary skill for today's stars.
Foodies, pure love, talent, and Pikachu are all a coat that stars put on for themselves in order to attract fans.
Although this coat has been torn to pieces by the small composition, there are always people who flock to it, after all, it is better to blossom under the rules than to have no talent.
If this is the case, will the actor be labeled as obvious limit his play, or is it more conducive to his public recognition?
In fact, this is a question of strength and choice.
The label is to make people remember, and with this label to have a degree of discussion, and perhaps to catch fire in one fell swoop.
Labels are also a kind of artificial design, but some people are addicted to artificial design, accustomed to making quick money, do not want to break the game, or have a hard time breaking the rules.
They can all be called temperamental actors.
He is comfortable with roles that he is good at or has a similar temperament, but lacks the ability and opportunity to dig deeper and broaden his performance.
But the greatest satisfaction and challenge of a good actor is to give full play to his full potential as much as possible, so as not to be out of place when performing a role that contrasts with him.
A good actor like this, Leung Ka Fai once said:
"Some actors are just a star in the eyes of a big director, and you don't need to be able to act.
The camera is on this side, you take five steps and then turn back, look directly at the camera, give me a look, you are the emperor of the film.
But the path I pursue is different, and I want to know why I need this back? What is expressed in this look of return? What am I going to explain to the audience?
I'm going to go through what this character has been through, rather than bluntly speaking out the dialogue. The actor's path I wanted was this, to walk into his emotional world through a role. ”
The good actors in Liang Jiahui's mouth are powerful actors, they have people to set, but they can reverse the people.
The first thing to mention is that Wang Baoqiang, after being well known to the audience through the role of "Silly Root" in "No Thief in the World", if you want to make a big wave and base yourself in the entertainment industry, you have to repeat it.
Therefore, Wang Baoqiang continued to strengthen the "silly root" role until he played such a role in all of China, such as Niu Geng, Tang Ren, Xu Sanduo, Shunyun and so on.
With this housekeeping skill, Wang Baoqiang has his own label.
He has a trick in this kind of role, when laughing, a little squinting his eyes will appear more generous; slightly bowing his head, looking upwards, revealing the whites of his eyes, more sympathetic.
But his trick is not suitable for everyone, and the slightest carelessness will be reduced to fancy awkward performances, such as Bao Bell's Handan toddler, who has no ability to learn blindly.
But can Wang Baoqiang only dance under the human set? Of course not.
His "Hello! Mr. Tree", incompetent and sad; his "Dark Calculation" is both painful and tenacious;
His "One Man's Martial Forest" does not care about life and death, but has fierceness and madness; his "Pursuit of Murder", nervous, stubborn, and out of place.
These roles are not painful to watch, and it is even more uncomfortable to act, but Wang Baoqiang can play the slightest bit, so the human setting is just the icing on the cake for the powerful actor.
The second is Tang Guoqiang, an actor who has played all over China for 5,000 years.
But Tang Guoqiang also had a long period of pain, because he loved to eat cream, looked handsome, and starred in "Peacock Princess", resulting in the birth of the term "cream student".
But this word is not a positive meaning, Tang Guoqiang in order to get rid of this label, Mao Sui proposed to participate in "Garland Under the Mountain", but unfortunately there was not much breakthrough.
Until the "Romance of the Three Kingdoms" in 1994, with the role of Zhuge Liang, Tang Guoqiang completely bid farewell to the "cream student" and became a powerful emperor.
This is where he plays the teachers, Yongzheng, Yue Wang Goujian, Tang Taizong, qianlong;
There are also song renzong, Zhu Yuanzhang, Huang Taiji, Qin Shi Huang, Han Xuan Emperor, Zhu Di, Genghis Khan, Jade Emperor, Yuan Shi Tianzun and other roles.
Therefore, for a powerful actor, it is only a spur to push him to go further.
Finally, Wu Mengda, who has acted in comedy all his life but has trained the ability to be happy and sad.
The footage of "Shaolin Soccer" bending down and kneeling on the ground to shine the shoes of Qiang Xiong (played by Xie Xian) best reflects Wu Mengda's superb acting skills.
After Ming Feng (played by Wu Mengda) was discredited, he became a small miscellaneous servant next to Qiang Xiong, and when he saw the male brother who was in the limelight walk in, he immediately greeted him with a smile on his face and asked him to shine his shoes.
But Brother Xiong did not pay attention to his kindness, but let him lie down, his feet on Ming Feng's head, and repay the humiliation of kneeling that year, and naturally there was no respect for Ming Feng.
Seeing that Brother Xiong reproduced the scene of that year, Wu Mengda's expression changed from flattery to shock, with a hint of disbelief.
After getting up, in order to lead the commitment of the team, it became a social laugh, which was mixed with overwhelmed, but he still held back his anger knowing that people were under the roof.
Until he heard Brother Xiong say that he had arranged to break his leg that year, his emotions were surprise, bitter smile, anger, sadness and helplessness.
In just a few seconds, Wu Mengda interpreted the joys and sorrows quite naturally, so the human setting is only a label for the powerful actor to make him widely known.
Even if an idol without strength, after setting a fire with the help of people, knows how to choose, and has perseverance to change people' designs.
He will not be framed by rules, but will find a way to break the fan fantasy, a Aaron Kwok, enough to become the transformation template of almost all current idols.
To talk about red, Aaron Kwok, one of the four heavenly kings, the popularity of that year, I am afraid that most of the current traffic stars.
A song "Can't Finish Loving You" spread throughout the streets, and a song "ParaPara Sakura" (Romantic Cherry Blossoms) resounded through the streets.
If you talk about acting, Aaron Kwok at that time, like the idol now, is a vase responsible for playing handsome, with a sluggish expression, and makes money by relying on the fan economy.
In the glorious 90s of Hong Kong cinema, Aaron Kwok did not leave a single classic movie, which was a movie that did not require much acting skills, such as "Accompany Me", "Super School Overlord", "Storm Domination" and so on.
But Aaron Kwok is different from them in that he dares to transform and strives to transform, not hesitating to destroy his image and reinvent himself.
Aaron Kwok's transformation began in 2000, until 2005's "Three Forks" was recognized by the Golden Horse Awards, and then won the film emperor with "Father and Son", becoming the second actor after Jackie Chan to win the Golden Horse Film Emperor.
Although the popularity is no longer the same, no one will call Aaron Kwok an idol school now, because he has "Cold War" and "Peerless", so even if someone calls it, it is not as powerful as an idol school.
It can be seen that actors need to be set up, but actors with strength and understanding of choice will turn people into positive things.
And those who are just used to cut leeks do not need to be transformed, after all, without the human design, he is left with only a handsome face after the retouching.